Based on the French novel “Réparer les vivants” by Maylis de Kerangal, La Jolla Playhouse’s musical adaptation, “The Heart,” follows the events of a heart transplant within a 24-hour window.
The show opens by introducing Simon (Zachary Noah Piser), a young San Diegan who spends his early mornings surfing. What follows is a tragic car accident, leaving Simon completely brain-dead. His mother, Marianne (Kenita Miller), and father, Sean (Jason Tam), are notified of their son’s condition and are confronted with a choice: to donate Simon’s organs or let them be. Meanwhile, 50-something Claire (Heidi Blickenstaff) celebrates a birthday she believes will be her last, only to discover that she might have many more years to come, thanks to Simon. The music by Anne and Ian Eisendrath is set against an EDM background, fueled by heartbeats and pulsing rhythm.
While this story is meaningful and moving, unfortunately, almost all the characters are so underdeveloped that the emotional stakes don’t feel very high. Most characters have a single personality trait instead of feeling like a whole person. The entire story takes place over only 80 minutes, and this short runtime is to the show’s detriment. It really feels like more time is needed to flesh out these characters.
Simon and Claire’s souls meet while they undergo surgery, discussing their lives and what they have in common, as well as what sets them apart. However, because these characters are so underdeveloped, this intentionally tear-jerking scene falls flat, leaving the show’s ending feeling hollow.
Anne and Ian Eisendrath’s musical arrangements thrived when the more electronic moments took over; the bass pounding throughout the theater left the audience members nodding along to the beat. Apart from the upbeat numbers, the more sentimental moments and ballads all began to blend together and lose their shape. For a show that is set on looking and sounding so contemporary, the traditional musical theater moments felt out of place.
A standout performance came from Lincoln Clauss in the role of Thomas Driscoll, the doctor tasked with discussing organ donation with Simon’s parents. Clauss’s voice is crisp and clean, lending itself to every bit of music, and he does a great job of imparting the severity and timeliness of the situation onto the grieving family without coming off as insensitive or pushy.
The overall production is stellar. Talented actors like Blickenstaff and Clauss, along with the perfectly timed choreography by Mandy Moore, make this a well-put-together show. All actors play multiple roles seamlessly; the staging and timing feel very clean and well-coordinated.
The combination of set design by Robert Brill, video design by Lucy Mackinnon, and lighting design by Amanda Zieve created a stage that was both minimalist and clean and ornate and colorful at the same time. The back wall of the set used dual screens to create depth, which looked extremely cool, especially in conjunction with the pounding electronica. The trio of set, video and lighting created a spectacle that is engaging to look at and take in while the story unfolds.
This musical does have a heart: there is a meaningful story to be told here, and the artistic team’s vision is evident in its execution. However, it really feels like these characters need more development and further exploration if the show is to continue beyond the Playhouse.
(Photo credit: Rich Soublet II)
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